This presentation will probe into the NMSAT historical references concerning sonification.

Info :Networked Music and SoundArt Timeline : a panoramic view of practices related to sound transmission and distance
This timeline aims to provide an overview of the principal events and projects in the realm of networked music and networked sonic performance since the beginning of the XX° century. The objective of this project is to reveal or uncover links between disciplines often considered separately such as art/music, technological development, social shifts, anticipationary visions & proleptic statements. This will in turn provide a clearer vision of the very recent history of soundart and music in todays networked technological environment. The current iteration was in launched 2008 within the context of the Locus Sonus research lab one of whichs vocations is to provide a corpus of information for documentary and critical use available to researchers, artistes and the arteducation community in general. It is nourished by parallel research, developed in recent years within Locus Sonus, concerning remote sound recording and playback, live audio streaming, and ‘geotagged’ sound projects.

Jérôme Joy is a composer and networks artist who has been teaching since 1992 at the National School of Arts, Villa Arson Nice and since 2004 as research director with Peter Sinclair of the research group Locus Sonus - Audio in Art. Having delivered multiple performances of both instrumental and electro-acoustic music since the early 1980s, he has devised numerous international networked projects and collectives (in music, sound and net) since 1995. His interests encompass the vast realm of sound composition, alighting upon and inspired by electronic production, programming technologies, networked systems, shared databases and the interplay and local gaps of narration into our daily life and social contexts. He's continuously working on various projects of network music : Sobralasolas !, nocinema, picNIC, Collective JukeBox, etc.

Roger F Malina is an astrophysicist and editor. He is Director of the Laboratoire d'Astrophysique de Marseille (CNRS) and former Director of the NASA EUVE Observatory at the University of California, Berkeley. He is a co-investigator for the Supernova Acceleration Probe Mission which seeks to understand the nature of dark energy in the universe, and a member of the science team of the Galaxy Evolution Explorer which is mapping the sky in the far ultraviold to understand the evolution of galaxies over 80% of the age of the universe. He is a member of the International Academy of Astronautics and Secretary of Commission VI on Space Activities and Society, and co-chair of the International Advisory Board of the Inter-Society for the Electronic Arts and a member of the International Academy of Astronautics. Roger Malina serves as the Chairman of the Board of Leonardo/ISAST, The International Society for the Arts, Sciences and Technology, in San Francisco and as the Executive Editor of the Leonardo publications, he is President of the Association Leonardo in Paris.
He writes on art and science and is particularly interested in the cultural dimensions of space activities. He is currently working on a project of the satellite SNAP and on the mystery of black energy and black matter in Universe.

In music, the idea of sound as an actual structural element only gained currency after World War II. I will outline briefly the history of this, citing significant composers and works. In addition, I will present samples of several sonification projects of my own from early work in realizing three-dimensional images (1972), and brain-wave music (1974-75) to the realization of DNA sequences (1995-present).

Peter Gena, Ph.D studied music composition with Morton Feldman, Lejaren Hiller. His work of various media have been presented extensively in North and South America, Europe, Asia, and Australia. Performances/installations include works presented at Les Nuits Numériques #7-Nanomonde at Le centre culturel Saint-Exupéry in Reims; Espace Sextius / Seconde Nature, Aix-en-Provence; Centro Andaluz de Arte Contemporàneo (CAAC); Seville, Spain, The Art Students League of New York, Computing Music IV (Cologne 2006), The Pandemic Night/La Notte Bianca (Milan 2006), Festival d'Automne (2004), Paris; Museo Nacional de Bellas Artes, Buenos Aires; the Berkeley Art Musuem (2003); Mini to the Max (2002), at the Brisbane Powerhouse, Australia; the Universidad de Salamanca, Spain, (2002); Arte al Centro 2001, at Cittadellarte/Fondazione Pistoletto, Biella; The National Gallery of China, Beijing (2001); Ars Electronica 1999, Linz; Aspekte Salzburg 1997; The International Computer Music Conference, Hong Kong; L.A.C.E., Los Angeles; San Juan University and the Poncé Museum of Art, Puerto Rico; Akademie der Kunst, Berlin; Herbst Theater, San Francisco; the Asian Institute for Liturgy and Music, Quezon City, Phillipines, The Ferienkurse f¨r Neue Musik in Darmstadt, Germany; the Merkin Concert Hall and Lincoln Center in New York, the 1991 Sao Paulo Bienal, New Music America 1981, 1982 & 1990. Similarly, as a pianist he has publicly performed many of his own works as well as those of others.

Gena's publications include, Freedom in Experimental Music: the New York Revolution (TriQuarterly 52); A John Cage Reader, in celebration of the composer's 70th Birthday (C.F. Peters Inc., NYC, 1983 [hardcover]); John Cage and the New York School: A Hyperlecture/Conversation (Warsaw Contemporary Art Museum, 1994) and a contribution to The Waltz Project (Nonesuch Records), choreographed by Peter Martins and in the repertory of the New York City Ballet. His essay Cage and Rauschenberg: Purposeful Purposelessness Meets Found Order accompanied the exhibitions, Robert Rauschenberg: The Early 1950s,and John Cage: Scores from the Early 1950s, shown at the Museum of Contemporary Art in Chicago. A paper, A Physiological Approach to DNA Music, was presented and published at CADE 2001, in Glasgow; and at the Art and Science Global Symposium, Tsinghua University, Beijing.

Since 1983, Gena has been a Professor at the School of the Art Institute of Chicago, where he teaches electronic and computer music, music history, computer programming, and interdisciplinary courses. Gena is decorated by the French government at the rank of Chevalier dans l'Ordre des Palmes Académiques.

Water as a medium for the sonification of photosynthetic respiration in aquatic plants. - a short presentation with sound examples.

Bubble Music: water as a medium for the sonification of organic activity

Over the past five years, as part of a broader practice that investigates environmental materials for sonic potential, I have been making field recordings using self-built hydrophones within various fresh water bodies, such as ponds, rivers, lakes, streams and canals.
This approach to the aqueous medium has revealed a host of previously unexpected sounding phenomena within specific environments.
Many sounds encountered now seem less remarkable given what one knows of the world above the water surface, aquatic insect calls (stridulation), fish feeding and communicating, the action of moving water over different surfaces and such like.

However, phenomena that have taken longer to understand, are the sounds produced by certain species of aquatic plants and the roles played by liquids in this seemingly bizarre occurrence.
As with the interaction of air upon air, it’s hard to say whether the action of water on water creates any sound, however where transducers exist, such as the waters’ own surface tension - where liquid meets gas, or on a river bed, where liquid interacts with solid, the energy of moving water is transduced, undergoing a change of state from the kinetic energy of flow into vibrations that may be perceived as sound.
The transpiration of the gases produced by photosynthetic respiration in plants above water, makes no sound (at least, non that can be perceived given current technologies), however carbon dioxide and oxygen released by sub-aquatic flora, if not dissolved within the water itself, is naturally forced to form bubbles if released in sufficient quantity. Due to the interaction of gas and water forming the surface tension of a bubble, and then the action of the bubble as it is released from the plants’ stomata, sound is produced. Such sound is often heard as a click or a pulse, and where many plants are present and releasing gas, a dense field of ticks and clicks may be heard corresponding to individual rhythms of respiration.
However, in a similar fashion to the way in which pulses from electronic wave generators or synthesizers are perceived as tone given sufficient cycle speeds, if respiratory rhythm is sufficiently rapid, then these clicks can become tonal sound forms.
In organisms such as Hornwort (Ceratophylum Demersum), bubbles are released with such speed in the summer months, that tones, drones and siren-like pulses of various types may be produced and in such cases, a pond or canal can occasionally sound more like the electronic music studio.
This sonification process reveals changes in photosynthetic activity corresponding to shifting light levels, ambient aquatic temperatures and even, possibly, threat or disturbance to the plant from external sources.
(Lee Patterson, February 2010)

Working across various forms, including improvised music, field recording, film soundtrack and installation, Lee Patterson attempts to understand his surroundings through different ways of listening.
Characterised by revealing subliminal and barely audible sound materials within commonplace things, his unorthodox approach to generating sound has led to collaborations with a host of international artists and musicians.
Recent CD releases include Egg Fry #2, Midhopestones, with Phil Minton, Michel Doneda, Louisa Martin and Rhodri Davies; Bouy with Paul Vogel and Phil Durrant, and Terrain with Graham Halliwell.
His premier solo disc, Seven Vignettes was released in May 2009.
His solo and collaborative work has featured on Channel 4, BBC Radio 3 and 4, Resonance FM and on several European radio stations.
He is currently artist in residence at Stour Valley Arts, Kings Wood, Challock, Kent.
Born in the east of England in 1971, he resides and works in Prestwich near Manchester.

Victoria Vesna is a media artist, Professor at the Department of Design | Media Arts at the UCLA School of the Arts and Visiting Professor and Director of Research of the Art, Media and Technology Program at Parsons The New School of Design. She is also director of the UCLA Art|Sci center that resides in two locations – Broad Arts and California Nanosystems Institute (CNSI). Her work can be defined as experimental creative research that resides between disciplines and technologies. She explores how communication technologies affect collective behavior and how perceptions of identity shift in relation to scientific innovation.

Victoria Vesna has exhibited her work in 18 solo exhibitions, over 70 group shows, published 20+ papers and gave a 100+ invited talks in the last decade. She is recipient of many grants, commissions and awards, including the Oscar Signorini award for best net artwork in 1998 and the Cine Golden Eagle for best scientific documentary in 1986 and best artwork award at the International Shanghai Art & Science exhibition in 2008. She holds a Ph.D. from the University of Wales, UK, is the North American editor of AI & Society and author of Database Aesthetics: Art in the Age of Information Overflow. In Press is Context Providers: Negotiating Meaning in Media Arts co-edited by Margot Lovejoy and Christiane Paul.

Peter Sinclair is a digital media and sound artist. He is tenured professor at Ecole Superieure d'Art d'Aix-en-Provence where he has been responsible for the sound department since 1996. He is also currently a member of the scientific council for research and studies at the DAP (fine arts department) of the French Ministry for Culture and research co-director with Jérôme Joy of Locus Sonus lab audio in art, which is a collaboration between two Schools of Arts, ESA Aix-en-P and ENSA Nice Villa Arson, and the sociology laboratory LAMES CNRS-MMSH. Peter Sinclair is known for his sound installations and other cross-disciplinary works which use sound as their principal medium. Excited by technology but handling it with critical irony, his work has moved from burlesque mechanics, through the misuse of computers to performance that parodies modern media language in transatlantic streamed-collaborations. Aside from his personal artistic productions Peter Sinclair participates in various collectives as "PacJap" and "Daisy Chain" and he has been working with New-York based artist GH Hovagymian since 1996.

Lorella Abenavoli is an artist living between France and Canada. Since 1996 she has devoted her time to sound sculpture, transforming into sound the internal flows of the Earth, trees, body, cosmic events, working with scientific institutions. She makes exhibitions in France, Italy, Canada and the United States. She has been awarded grants from the Daniel Langlois Foundation and the French Ministry of Culture, for her artwork The Pulse of the Earth. She’s presently working on sound creation for dance, collaborating with the French choreographer Bernardo Montet. Their last creation, Batracien, l’après-midi, has been showing around the world. Whilst currently doing a PhD art program at UQÀM in Montreal, she's producing research about sound medium in the visual art field. She's artistic director of Avatar Québec since Nov. 2009.

Stuart Jones is a composer and media artist, and also Senior Research Fellow in Interaction Design at Central Saint Martins. He co-founded Gentle Fire in 1968 and also worked with John Cage and Karlheinz Stockhausen. He has worked with space and interaction throughout his career, creating his first interactive installation in 1973. He has a long standing interest in non-European music, and in particular has studied and performed on the pi’pa and guzheng. His current research at CSM is into the use of sound to reconfigure space, and how children experience narrative. Recent CD releases include given – taken, for cello, pisaw and electronics (divers music 012) and Gharnati for violin and percussion (on Fiddlesticks, Signum SIGCD111); recent installations are Wigg Island Birds for a nature reserve on the Mersey, and Big Ffidil for the Wales Millennium Centre.

1. Scientific sonification, as the aural equivalent of scientific visualization

2. As a way to bring things to sonic life

In April 2009, I took part in a panel discussion at the Theatre Noise conference in the Central School of Speech and Drama in London where the panelists were Ross Brown, theatre sound designer, the soundscape artist John Drever, Michael Bull, cultural theorist, and myself. Here is Ross Brown’s abstract for that session.

“In Oslo airport there are listening points, marked by circles on the floor, where one can step out of the ambience of the departures lounge and into a noise-cancelled zone within which one encounters the sounds of gurgling babies, whispering voices and tumbling surf. The theatrical sound effect seems to have escaped captivity and adapted. The post-industrial soundscape is no longer simply divided into signal and noise, but has been invaded by sonic tricks, illusions and puns. Ringtones have become a form of sonic bling. The processes of inferring from effect have become less straightforward. A mechanical shutter sound is now more likely to signify the presence of a mobile phone than a camera. A dog bark might be a door bell. Birthday cards play digital samples and the act of remotely unlocking or locking a car involves more waveform synthesis and digital sound processing than Kraftwerk could afford onstage in 1979. ‘Sonification’ has gone way beyond user-interface functionality. Digital phones that sound like old-fashioned analogue ones but with a built in reverb effect to make them sound like they are ringing in a different, more sonically luxurious world. This panel will consider the effects of this environmental theatre of sound, and the ways in which the live arts might respond.” Ross Brown 2009.

The tension between the two meaning of the word sonification came to light in this session, and I will retrace this discussion in my presentation.

Atau Tanaka was born in Tokyo, and was raised in the U.S. He bridges the fields of media art, experimental music, and research. In Paris has worked at IRCAM, was Artistic Ambassador for Apple France, and conducts research at Sony Computer Science Laboratory (CSL) Paris. Atau performs with sensor based musical instruments and composes for mobile network systems. His works include solo and ensemble concert works and exhibition installations. His work has been presented at Ars Electronica, SFMOMA, Eyebeam, V2, ICC, and ZKM. He has received support from the Fondation Daniel Langlois and has been mentor at NESTA. For the 2007 season, he was Artistic Co-Director of STEIM in Amsterdam. He holds the Chair of Digital Media at Newcastle University in the U.K., and is Acting Director of Culture Lab.

Areas of research:
Urban sociology, micro sociology of public space, in particular:
- Physical space, social space: the "sense of place"
- Territories and democracy
- Public dimensions of new ITC and their usages
- Artistic engagement and the construction of publics.

As Researcher I will like to present some of the devices im currently using and hoping to integrate in my sound project for Locus Sonus and E.G.S.
Radiation emissions coming out of the spectrum be them Man-Made, Natural or crossing occurrences defined as “Unnatural” (read also as paranormal and intrapsychic). All to be sensed, traced and as the military will do, mapped. Most often classified as interferences, breakdowns or glitches. A scope that spans from Noise to “"on the clear" comms”. Most likely signals that won'’t produce a Ring!. Few will be routed accordingly by invisible operators, even less will be picked by their intended addressees.

With a background in video Alejandro Duque is a colombian artist graduated from the school of fine arts of Medellin in Colombia in 1998. He actually pursues a PhD on philosophy of communication at the EGS (European Graduate School http://www.egs.edu/ Switzerland) and his dissertation topic deals with finding ways for smuggling ideas across different networks, "trafficking" concepts crossing marginalized communities and western philosophies. He's member of the Locus Sonus Lab.

Scott Fitzgerald is an artist, educator and technologist, currently member of the Locus Sonus Lab. He builds tools for himself and others to express themselves in unique and idiosyncratic fashions. He holds a Masters degree from New York University's Interactive Telecommunications Program (NYU ITP), and has a variety of previous experiences as a social worker, documentary filmmaker, and radio DJ.
At NYU, Scott has taught Physical Computing, Video for New Media, and Expanding Interactive Video for the last several years, working with students to expand their interactions with machines, and explore the boundaries of video installation and performance.

Florian Grond, Graz 1975, studied Chemistry at the Karl Franzens University in Graz, at the De Montfort University in Leicester and at the Eberhard Karls University in Tübingen. Since 2002 he worked at the ZKM (center for art and media) in Karlsruhe Germany and the IDMIL at McGill in Montreal. His main scientific focus is sonification and nonlinear dynamical systems. He currently writes a PhD about sonification under the supervision of Thomas Hermann. Since 2002 scientific publishing, since 2004 participating in media art and art/science exhibitions in Germany, Austria, Switzerland, Denmark, Czech Republic, Italy, Japan, US and Canada.

"Tripping Through Runtime" is a long-term study, approaching 'digitality' via microphones for magnetic fields to dive into the invisible relationships of hard and soft computer matters by sensual means. The aim is to detect and provoke specific behaviour of
single computer components in match with software pieces, which are being mediated with the magnetic microphones. These acoustic trips through the magnetic spheres of laptop motherboards move at the borderline between sonification and mystification, raising questions of their purpose.

Angus Carlyle works at the University of the Arts, London where, with Dr. Cathy Lane, he is a Director of CRiSAP.
He has been an intermittent writer for a couple of decades, tackling subjects as diverse as the suicide of Guy Debord and long-distance truck drivers. He has devoted a lot of words to contemporary photography, a process that began when he was the editor of themepark - a magazine that was active across the turn of the millennium – and then continued with texts for gallery catalogues and articles for Hotshoe, Photoworks, Black Dog Press and Eyemazing. He edited Autumn Leaves: Sound and Environment in Artistic Practice for Double Entendre and will soon publish Katch 23, a book about the art-pop band, The KLF.
In recent years, he has been exploring sound in artistic contexts, exhibiting at the DCA Gallery in Tucson, the Zeppelin Festival in Barcelona, in the High Desert Test Sites in Joshua Tree Valley, at London’s E:vent Gallery, on Resonance FM and on the M25 Motorway. He has performed as part of improvising groups in the UK’s oldest cinema, at the Placard Festival and at the Sonic Arts’ Network’s Expo 2008. A CD of his Kami-Katsura recordings will be released by Gruenrekorder in the Spring of 2009. He is a researcher on the multi-disciplinary Positive Soundscape Project.

Jens Brand studied visual arts in Münster, Germany. He lives and works as a composer, musician, visual & audio-visual artist and organiser in Dortmund, Germany. His pieces can appear as concerts, performances or installations. Recent works have ended up being mixtures of these genres, developed as logical and absurd games between the audience and the artist. His experiments with everything that can be considered to be art are not supposed to establish a belief or truth, but try to offer a fruitful soil for research, communication and progressive failure. Pieces used in the collaboration with Sam Ashley, such as Motors and Styrofoam, Mini Fan Music, PIANO or RATCHETS appear as short duration installations that evoke something Jens considers to be "electronic music without speakers".

John Eacott is a trumpeter and composer whose career started in the 1980s with anarchic jazzers Loose Tubes and post-industrial metal bashers Test Dept. In the 1990s he focused on composing many works for Theatre including the worldwide touring production of Gormenghast and arrangements for the 2002 RSC production of Timon of Athens. Film scores include the Miramax feature Three Steps to Heaven (1995), Escape to Life with Vanessa Redgrave (2000) and jazz arrangements for Alfie starring Jude Law (2003). His orchestral compositions have been performed and recorded by the Scottish Chamber Orchestra and Docklands Sinfonietta. Previous algorithmic / generative works include The Street, an interactive sound environment (2000), Morpheus, a CD Rom of generative electronica (2001), and Intelligent Street, a sound space in which users alter their sound environment by sending text messages (2003). Since completing his PhD in 2007, John composed Flood Tide, featured in the 2009 Thames Festival and Hour Angle, which are accessible live performances using algorithmic composition. He is Principal Lecturer in Music at the University of Westminster.

The early works in the sonification of terrain used more and more complex juxtaposition of musical structures that used the raw elevation and position information as a direct determinate in the temporal, timbre and pitch choices. This decision matrix was mutable and very much informed of the types of processes used by Cage, Tudor, Oliveros and others. The performance was procedural but fluid and choices of juxtaposition were based on heuristics with trial and error driving the refinements. Ultimately the textures were made of a multi layered sound map that was made of multiple processes each directly interacting with the digital elevation model in different ways. This high level of parallelism created a context for the elements to bind and react in unexpected ways.

Scot Gresham-Lancaster is a composer, performer, instrument designer, sound installation builder and educator with over three decades of professional experience. He is dedicated to research and performance using the expanding capabilities of computer networks to create new environments for musical and cross discipline expression. As a member of the HUB, he is one of the early pioneers of "computer network" music which uses the behavior of interconnected music machines to create innovative ways for performers and computers to interact. He has helped develop a new media form called the "cellphone opera" that leverages modern cellphone networks to create sound installations that change with every new participant phone call. For over two decades, he has worked with multimedia prototyping and user interface theory and its relationship to new markets.

Pointers to mp3 files:Rich_Gold_Terrain_Reader_1979.mp3
An excerpt from a live performance that included “the routine nominally called “The Terrain Reader” was part of a broad piece entitled “Fictional Travels in a Mythical Land” by Rich Gold with the League of Automatic Music Composers at the Finnish Hall in SF in 1979. ( ref: Music for an Interactive Network of Microcomputers John Bischoff, Rich Gold and Jim Horton Computer Music Journal , Vol. 2, No. 3 (Dec., 1978), pp. 24-29 Published by: The MIT Press )

McCallExcerpt_particles.mp3
AndTerrain_KPFA_Oct_1990_excerpt.mp3
An excerpt from a live broadcast on KPFA Berkeley, CA in 1990 of “Terrain Broadcast” “When released above the terrain, the, the particles moved downward until colliding with the surface.” Events reflecting the velocity of the impact and subsequent virtual bounces were output as MIDI notes. ( Experiences in Digital Terrain: Using Digital Elevation Models for Music and Interactive Multimedia Bill Thibault and Scot Gresham-Lancaster
Leonardo Music Journal , Vol. 7, (1997), pp. 11-15 Published by: The MIT Press )

Toyoji's_Song.mp3
Music generated from the sensor data of Camilie Vineyard in memory of Toyoji Tomita (2009).

MoveMusic : The Perception of Art, Dance, and Science Through Image and Movement Sonification.

MoveMusic Technology makes significant progress toward enabling the perception of dance, art, and any image as music. MoveMusic evolved out of the NASA grant funded museum exhibit “Walk on the Sun”. In the exhibit, visitors could explore over two million images of the changing Sun from the Solar TErrestrial RElations Observatory (STEREO) space mission by literally walking over them and hearing where they walked or moved as music. Explorers could also perceive rapid sequences of images (in essence like movies) as dense chords of music generated from each image in the sequence. With MoveMusic, the sonification is expanded to include movement itself, captured by visual surveillance tracking software. Adding movement sonification to image sonification (i.e., the image that one moves over) creates a rich, multidimensional musical experience giving clues as to what, where, when, and how something is moving. Future work will integrate the sonification design with the conceptual framework for description of movement pioneered by the Laban/Bartenieff Institute of Movement Studies. Long range goals include inclusion of MoveMusic in the 2016 Olympics so those who are blind can better perceive the performance of the athletes.

Marty Quinn, musician, computer scientist, artist, actor, and founder of Design Rhythmics Sonification Research Lab, collaborates with scientists the world over to turn their data into music to make it accessible through the audio and musical channel. He is working closely with the National Federation of the Blind to bring greater access to imagery and other data through music. He studied acting at the Cleveland Playhouse and is a composer and master drummer who plays drums, tablas, and percussion. As a sonification researcher and computer scientist, His work “The Climate Symphony” which represented 110,000 years of ice core history from the Greenland Ice Sheet Project II was praised by the National Science Foundation for being an innovative merging of art and science. Quinn’s sonifications have been heard on National Public Radio in the US and featured in the New Scientist magazine. He has toured extensively with Broadway shows, Doah World Music Ensemble and with his wife, Wendy, and daughter Caity, in original productions. He trained in computer science and scientific visualization at the Granite State College and the University of New Hampshire. His new “PolyVisual” movies premiered at the Selby Gallery in Sarasota, Florida as part of their “Digital Is” show in 2008.

Wendy Quinn, a native of Montreal, is a choreographer, dancer, artist and visual designer, and was formerly an active member of the avant-garde performing arts community in New York. Wendy has trained in ballet, Tai Chi, and modern dance, and has developed a unique blend of east and west, combined with a deep understanding of the human condition, holding a PsyD degree in Psychology from Antioch New England and a masters in Dance Therapy from Hunter College. She designed the sets for The Seven Valleys and Three Step.

CRiSAP (Creative Research into Sound Arts Practice, LCC, Univ. of the Arts London)Cathy Lane is a co-director of CRiSAP. Previously she established the department of Sound Art and Design at the University of the Arts, London and still teaches undergraduates and supervises research students. She is leading the development of an MA in Sonic Arts to start in January 2008. Cathy Lane has a PhD in electroacoustic music composition from City University.
Dr Cathy Lane is interested in sound and how it relates to the past, our histories, our environment and our collective and individual memories. This informs her current work as a composer, sound artist, lecturer and researcher. Aspects of her creative practice has developed out of these interests and concern composition with spoken word, field recordings and archive material and writing and lectures on these and related subjects.
Cathy Lane is a co-director of CRiSAP. Previously she established the department of Sound Art and Design at the University of the Arts, London and still teaches undergraduates and supervises research students. She is leading the development of an MA in Sonic Arts to start in January 2008.
Cathy Lane has a PhD in electroacoustic music composition from City University.